Phil de Semlyen

Puritanical types like to scapegoat movie violence as a cause of social breakdown, but the truth is that the world has always been a violent place, and the movies merely reflect that fact. Even more to the point, while real-world violence is rarely worthy of celebration, in film, it can often be beautiful. Think the grace of Bruce Lee or Jackie Chan’s blur of motion. In cinema, interpersonal combat is an artform unto itself, one that has made careers and provides the foundation for whole genres. On this list of the greatest movie scenes ever filmed, though, the selections run the gamut, from action sequences so balletic they nearly count as dancing to brutal, sloppy brawls that nonetheless nudge us to the edge of our seats. A few caveats, though. First off, no gunplay allowed, at least not where a firearm is the primary weapon; well-orchestrated shootouts are a whole other category, and probably deserve a list of their own. For similar reasons, we’ve also omitted boxing matches, wrestling bouts or MMA fights. But that still leaves us with plenty of hard-hitting dust-ups, elegant martial arts mastery and the occasional goofy grapple that puts the slap in ‘slapstick’. All we are saying is: give violence a chance. RECOMMENDED:  🥋 The 25 best martials arts movies ever made.🧨 The 101 greatest action movies ever made.🪂 The 18 greatest stunts in cinema (picked by the greatest stunt professionals)

Any list of the best psychological thrillers needs to start by answering a basic question: what separates a psychological thriller from a regular old thriller? As the phrase implies, it mostly has to do with the mind. In the best examples, special attention is paid to the mental disposition of its characters, and the thrills themselves are derived from how those motivations influence the movement of the plot.  That might sound a bit cold, maybe alienating. But the greatest psychological thrillers play on elemental fears, traumas and delusions. As one particularly disturbed young man once said, we all go a little mad sometimes – and that’s what makes the genre so relatable…and often frightening. These are 32 of the absolute best. Recommended: 😬 The 100 best thriller movies of all-time🍆 The 35 steamiest erotic thrillers💣 The 101 best action movies of all-time🔥 The 100 best movies of all-time

With everyone and their aunt heading off in search of the sun – or at least, going outside a lot – August can feel low-ley at the multiplex. But while the big studios are keeping their powder fairly dry, there’s still intriguing new releases of all shapes and sizes this month – from the existential eeriness of British drama ‘Sky Peals’ to trans homecoming tale ‘Close to You’, starring Elliot Page in his most personal role yet. And it’s not all intimate indies, either: psychological horror’s ringmaster M Night Shyamalan is back with his serial killer potboiler ‘Trap’ and there’s a reboot for a certain xenomorph franchise with Fede ‘Don’t Breathe’ Álvarez’s ‘Alien: Romulus’. Here’s what to look out for on the big screen in August.RECOMMENDED: 📽️ The best movies of 2024 (so far)📺 The best TV shows of 2024 you need to stream🏵️ The 100 greatest movies of all time

For the first half of 2024, the main talking point around the movies was that no one was going to see them. Why weren’t audiences flocking to see Ryan Gosling drive stunt cars and flirt with Emily Blunt? Why did Furiosa flop when the last Mad Max film was such a hit? It was especially perplexing given that last year, the worldwide box office had seemed to finally rebound from the post-pandemic doldrums. Studio fortunes are starting to improve, however, on the backs of some major kids movies and the latest Bad Boys sequel. So how about we all stop wringing our hands, and begin appreciating what’s been a pretty great year for movies so far, both in the mainstream and at the arthouse? You’ll notice some of these movies came out in the US at the back end of 2023, but we’re basing this list on UK release dates to include the best worldwide releases from between January and December. And there is plenty more coming, so keep this one bookmarked. RECOMMENDED: 📺 The best TV shows of 2024 (so far) you need to stream🎥 The 100 greatest movies ever made🔥 The best movies of 2023

You’d have to travel many miles for a more concentrated array of frights than the one assembled each year by FrightFest, the UK’s biggest horror film festival. Even in a year already replete with classy horror flicks, the line-up for August’s five-day fest looks like a seriously unsettling one. Gorehounds, midnight movie aficionados, cult-heads and more casual horror fans are catered for across 69 films and five days and nights between August 22-26. But what are this year’s proper FrightFest frighteners? The cortisol-inducing films that will lurk in your nightmares? We asked festival co-founder and all-round horror maven Alan Jones to pick five gnarly cuts that will give even the hardiest movielover pause. Book them if you dare. RECOMMENDED: 💀 The best horror movies of 2024 (so far)💉 The 100 greatest horror movies ever made

Summer is here – honestly, it is – and with it the return of London’s thriving and fun outdoor cinema scene. After a brief lockdown flirtation with drive-in cinema, during which we all discovered that windscreen wipers are the sworn enemy of movie-watching, this year has an old-school feel to it: cosy blankets; tasty snacks; cocktails, if that’s your thing; headphones; and scenic spots around the city at which an array of big screens will be popping up and entertaining us with crowd-pleasing movies.  Because outdoor screenings aren’t usually the time to dig into arthouse curios and improving documentaries. Rewatching is often the order of the day, and this year it’s all about enshrining ‘Barbie’ into the outdoor cinema canon, alongside the likes of ‘La La Land’, ‘Notting Hill’ and other surefire favourites on London-wide screens. Here’s all the moonlit options for the next few months. Recommended: 📽️ The best cinemas in London💰 London’s best cheap cinemas

Comedy gets no respect, no respect at all. Sure, everyone loves to laugh, and just about every film buff has a comedy movie they hold close to their heart. But for some reason, when it comes to awards and canonisation, comedies still get short shrift in the history of cinema. That’s probably because, more than any other genre, comedy is dependent on context. What’s funny in 1924 might land with a thud in 2024. And that’s to say nothing of varying tastes in humour.  That makes coming up with the best comedy films of all time especially tricky. We had to ask ourselves: what makes a truly great comedy? There’s many criteria, but one of the most important is the question of: ‘Is this film still funny now, and will it still be funny five years, ten years… a century from now?’ With the help of comedians like Diane Morgan and Russell Howard, actors such as John Boyega and Jodie Whittaker and a small army of Time Out writers, we believe we’ve found the 100 finest, most durable and most broadly appreciable laughers in history. No matter your sense of humour - silly or sophisticated, light or dark, surreal or broad - you’ll find it represented here.  Recommended: 🔥 The 100 best movies of all-time🤣 The best comedies of 2024 (so far)🥰 The greatest romantic comedies of all time

We’re only just past halfway through but 2024 is already starting to feel like a gala year for horror. There’s been everything from deviously meta spins on demonic possession flicks (Late Night With the Devil) to a paleolithic Blair Witch Project (Out of Darkness) to an alien invasion horror conducted at a whisper (A Quiet Place: Day One). And ahead are singular scare-fests and bloodbaths from up-and-coming filmmakers like Jane Schoenbrun and Tilman Singer, returning auteurs like Coralie Fargeat and some guy called Tim Burton. Right now, Oz Perkins’ chilling serial killer procedural Longlegs and Chris Nash’s slowburn slasher In a Violent Nature are turning the temperature right down in cinemas with superlative genre filmmaking that will haunt your nightmares. If you like things dark and disturbing, tick these off your list asap. 🎃 The 100 best horror films ever made 😱 The scariest movies based on a true story 💀 The best films of 2024 (so far)

Action movies get a bad rap. Not necessarily from the general public, of course. Audiences love ’em, for the most part, especially if you expand the definition to include superhero flicks and comedies like The Fall Guy. But for hardcore cinephiles, action is too often regarded as cinematic junk food, replacing all story and substance with eardrum-shattering explosions and mindless violence. Sure, you can enjoy one every now and then, but a steady diet of loud noises, death-defying stunts and one-liners? That’s for the normies to consume. Here’s the thing, though: if the main point of any film is to make you feel something, what produces more visceral feeling than a good action flick? Anyone who’s ever had their senses rattled by a truly great action movie knows that there are few moviegoing experiences that can compare. Another thing: not all action movies are loud and dumb. Some are nearly operatic in scope and balletic in their grace – and sometimes, you might even actually care about the person dodging bullets and delivering throat chops. This list of the greatest action films ever made is proof that the genre is more versatile than it appears. We polled over 50 experts in the field, from Die Hard director John McTiernan to Machete himself, Danny Trejo, along with Time Out’s writers. The results show that, when done right, there are few things more plainly awesome than an action movie. Written by Eddy Frankel, Eddy Frankel, Yu An Su, Joshua Rothkopf, Trevor Johnston, Ashle

Cinema has long had a fascination with serial killers. From Fritz Lang’s M, released at the birth of the sound era, to this year’s Longlegs, filmmakers have examined the psychology of compulsive murderers and the society that creates them. It’s easy to understand: exploring the human psyche, even (or especially) the darkest corners of it, is one of the things art is intended to do. But audiences apparently share the fascination, too. And that’s a bit harder to parse.  Other kinds of crime movies provide the vicarious thrill of watching people live outside the law. Movies about serial killers force us to confront humanity at its most frightening. That doesn’t sound like a fun way to spend two hours. But the best serial killer movies don’t just try to shock. In considering the best serial killer movies ever made, we prioritised those that go beyond mere exploitation or voyeurism. The ones that hold a cracked mirror up to the social conditions that would cause one of its citizens to hold human life in such low regard. Some might be categorised as horror, others as noirs or procedurals. All of them will leave you shaken. Recommended: 🔪 The best true-crime documentaries on Netflix in the US👹 Cinema’s creepiest anthology horror movies🩸 The 15 scariest horror movies based on true stories💣 The 100 best thrillers of all time😱 The 100 best horror movies of all time🕵️ The 40 best murder-mystery movies

The choices of streaming platforms out there can feel exhausting. Netflix, of course, is a tried-and-tested option – an ever-swelling font of shows and movies with plenty of gold nuggets but more than a few turkeys too. Then there’s Prime Video with its huge movie library that a subscription doesn’t necessarily get you access to (not to mention, the sudden addition of ads. If you have kids, Disney+ is probably already a staple. Add HBO Max, Shudder, Criterion, MUBI and there’s the potential to spend a motza getting access to movies you don’t have time to watch.So coughing up another $9.99 (or £8.99) each month for Apple TV+ might seem like an expense too far. But don’t dismiss this still-evolving streaming service – it’s much more than just the place to watch Ted Lasso these days. Many of Apple’s TV offerings are exceptional (Slow Horses, Bad Sisters, Masters of the Air, Severance and the like) and its film library, while still smallish compared to Netflix, is becoming a solid second reason to cancel one of those other streamers and take the plunge. Here’s the best movies to catch on it now. Recommended: 💻 The 35 best movies on Netflix right now🗓 The best movies of 2024 so far🔥 The 25 best movies on HBO and Max

Last year we bid farewell to Succession, Barry and Top Boy, fell hard for Beef, Colin From Accounts and Blue Lights. The next 12 months should help us move on – the potential impact of 2023’s writers’ strike notwithstanding – as early hits like World War II epic Masters of the Air and Mr and Mrs Smith, Prime Video’s intoxicating mix of witty marital drama and zippy espionage caper, are already proving. Ahead is a hotly-anticipated new run of Squid Game on Netflix, a third season of Industry, a sci-fi prequel in Dune: Prophecy, Colin Farrell in DC spinoff Penguin, and The Franchise, the latest from telly genius Armando Iannucci – among many other potentially binge-worthy offerings. But there’s only so many hours in the day and you can’t spend all of them on the sofa. Here’s our guide to the shows most worthy of your time.RECOMMENDED: 🔥 The best TV and streaming shows of 2023🎥 The best movies of 2024 (so far)📺 The 100 greatest ever TV shows you need to binge

The first Deadpool movie was a refreshingly unserious counterblast to the superhero industrial complex dominating cinemas in the mid-2010s. With his gleeful pisstaking and fourth-wall breaking, Ryan Reynolds’ motormouth Wade Wilson felt like the wobbly brick in the machine-built Jenga tower that was pre-Endgame superhero cinema.  Eight years on and the superhero landscape now resembles this densely-packed threequel’s barren, Mad Max: Fury Road-aping wasteland The Void. And Reynolds’ sweary superhero has evolved from plucky insurgent to the cornerstone of a potential Marvel revival. So when he refers to himself as ‘Marvel Jesus’ in this splashily violent, timeline-traversing quest to protect his friends and beloved ex (Morena Baccarin, barely in it) from erasure, he’s not kidding. Deadpool & Wolverine is a franchise resurrection dressed as an odd-couple bromance, with a new version of Hugh Jackman’s grizzled Wolverine along for the ride. And it’s altogether too much heavy lifting for a character who lives to snark from the sidelines. The movie’s big bad has a small-screen quality. Matthew MacFadyen channels Succession’s slimy Tom Wambsgans as a rogue Time Variance Agent (Disney+ show Loki is your course work here) hellbent on destroying swathes of the multiverse for reasons I can’t begin to explain. It’s another winky performance in a movie that asks you to take nothing seriously apart from its own moments of unearned pathos. Only the gruff Jackman, grousing monosyllabically a

Despite its nostalgic reappraisal, Twister didn’t do much to stand out from the disaster movies – Dante's Peak, Armageddon, Backdraft, Deep Impact et al – that laid waste to multiplexes on a weekly basis in the ’90s. At least, not beyond the memorable Helen Hunt/Bill Paxton double act and that now-iconic flying cow. Not an especially high bar for Lee Isaac Chung’s all-action sorta-sequel to clear, in other words – and it clears it with ease. With its peppy cast, streamlined story and about a bazillion pixels’ worth of VFX cyclones to sweep you back in your seat, it’s a fun and refreshingly old-school night at the pictures. Normal People’s Daisy Edgar-Jones is a reined-in but sparky lead as meteorologist Kate Cooper, a Midwesterner with a groundhog’s ability to sniff out looming weather systems. She’s from ‘Tornado Alley’, a storm-ravaged strip of Oklahoma, so there’s been plenty of practice. But there’s been hubris, too, when her experiments in tornado-busting particles indirectly leads to the deaths of her partner (Daryl McCormack) and two young fellow tornado-chasers in a showstopping opening scene. Five years on, her surviving team mate (In the Heights’ Anthony Ramos) drags her reluctantly back from self-imposed exile in New York – only this time the twisters are coming thick and fast, and with them unscrupulous property developers, tornado tourists and hotshot YouTube storm chasers like egotistical Arkansas ‘tornado wrangler’ Tyler Owens (Glen Powell, steadily piloting hi

Dad is dying, unseen, in an adjacent room. His three grown-up daughters are gathered in his apartment for three days, preparing for his death while coping with their buried emotions – towards him, and, with increasing agitation, each other. Azazel Jacobs’s poignant but unsentimental film, set in a Lower East Side apartment, is painful, messy, sharp-edged, and for anyone who has experienced the weird mix of extreme practicality and unrealised grief that comes with helping a loved one through palliative care, a real heartbreaker. The New York filmmaker is a past master of intimate family dramas full of sly observations. Films like Terri (2011) and The Lovers (2017) have taken the edge off their stories of domestic woes – kids struggling at school, infidelity, money worries – with smart but goofy wit. His Three Daughters is a slightly graver proposition – terminal illness being tougher to jolly up. Funny but in an awkward, more nakedly emotional way. It’s built on the performances of its three leads: Natasha Lyonne, Elizabeth Olsen and Carrie Coon – a trio of actresses whose contrasting strengths dovetail beautifully in that Cries and Whispers-y set-up. Beautifully acted and with an emphatic spirit, its humanity runs deep Lyonne is Rachel, a stoner shut-in and sports betting devotee who’s been living with her terminally ill dad. The arrival of her estranged half-sisters, the tight-wound Katie (Coon), struggling with a difficult teen at home, and the softer, more sensitive Chri

Not so much ‘fast and furious’ as slow and serene, Thelma is a nonagenarian action-comedy that’s taken its pills and will stop at nothing on a madcap quest for justice. Apart from platform lifts and particularly steep steps. Writer-director Josh Margolin draws inspiration from his own family for a likeable indie that wants you to think about ageing differently – and succeeds in warm-hearted style. His debut delivers pearls of wisdom about intergenerational family dynamics and the constraints (and freedoms) that come with old age, as Thelma, a 93-year-old grandma, sets off to track down the scammers who have ripped her off.  Played by the wonderful Squibb and based on the director’s own gran, Thelma Post is still a life force: living independently and knocking about with her loveable but lost grandson Danny (Fred Hechinger, soon to be a villain in Gladiator II). Then comes a mysterious call: Danny has been arrested and $10,000 is needed to bail him out. To the horror of her fretful daughter (Parker Posey) and know-it-all son-in-law (Clark Gregg), she mails a bundle of cash to the San Fernando Valley PO Box address specified by the fraudsters. Thelma is neither as funny nor as Marmite-y as Little Miss Sunshine, a kindred spirit in the quirky indie realm, but its light shines in myriad little character beats. Many of them involve Richard Roundtree – John Shaft himself – as Thelma’s old pal Ben, who reluctantly absconds from his care home, mainly because Thelma has stolen his mob

Aos nove anos, já tinha o Anthony Perkins de Psico como pai e uma participação em Psico II, como um jovem Norman Bates. Talvez seja um exagero dizer que Osgood Perkins nasceu para fazer filmes de terror, mas é definitivamente um ganho para nós que a sua escolha de carreira o tenha conduzido a esta que é, até ao momento, a experiência de terror corporal e mental do ano. Com Nicolas Cage no papel de produtor e do profundamente inquietante assassino em série, Longlegs – O Colecionador de Almas é uma obra de um brilhantismo arrepiante que deverá entusiasmar os fãs do género durante anos. Cage é o protagonista, mas Maika Monroe, de Vai Seguir-te, é a figura-chave do filme. E está fantástica no papel de Lee Harker, uma agente do FBI nos Estados Unidos da era Clinton que tem instintos aparentemente telepáticos, poucas habilidades sociais e uma mãe religiosamente maluca (Alicia Witt). Algures nos subúrbios invernosos e nos remansos do Noroeste do Pacífico, um assassino em série está a deixar um rasto de famílias chacinadas e iconografia ocultista, apesar de nunca ter entrado nas suas casas. O sexto sentido de Harker pode desvendar um caso que deixou estupefactos os colegas mais experientes. Tal como Clarice Starling em O Silêncio dos Inocentes, a agente federal de Monroe também é uma jovem mulher a lutar para ser levada a sério num mundo de homens – num departamento chefiado pelo rude agente Carter, interpretado por Blair Underwood. Durante um encontro confrangedor com a mulher e a f

He had Psycho’s Anthony Perkins for a dad and an appearance as a young Norman Bates in Psycho II under his belt by the age of nine, but it’s probably still a reach to say that Osgood Perkins was born to make horror films. But it’s definitely our gain that his career choice has led him to this, the full-body, mind-violating horror experience of the year to date.  With Nicolas Cage as both its producer and the deeply unsettling serial killer of the title, Longlegs is a work of chilling brilliance that should electrify genre fans for years to come.  Cage has star billing but It Follows’ Maika Monroe is the film’s key figure. And she’s terrific again as Lee Harker, an FBI agent in Clinton-era America who has seemingly telepathic instincts, minimal people skills and a religious nut mum (Alicia Witt). Somewhere out there in the wintry burbs and backwaters of the Pacific Northwest, a serial killer is leaving a trail of slaughtered families and occult iconography in his wake, despite never even entering their homes. Harker’s sixth sense may just crack a case that’s dumbfounded her more experienced colleagues.  Like Clarice Starling in Silence of the Lambs, Monroe’s Fed is a young woman who struggles to be taken seriously in a man’s world – a bureau headed up by Blair Underwood’s gruff bureau chief, Agent Carter. During one awkward encounter with Carter’s wife and young daughter, her body language is a silent scream of discomfort. Longlegs does not need its heroine to be likeable, onl

Action filmmaker Chad Stahelski is already working on an English-language remake of this Hindi trainsploitation flick – and it’s easy to see the appeal for the Hollywood martial arts auteur. There are moments when Kill’s demented levels of violence makes his own John Wick movies look positively tame. It is, in every sense, loco.  Maybe to keep the Bollywood crowd on board, or just to lull his audience into a comforting familiarity, director Nikhil Bhat starts things gently with a soapy romance. Handsome army commando Amrit (Lakshya) hops aboard a night train to New Delhi to whisk his beautiful fiancée Tulika (Tanya Maniktala) away from the arranged marriage sorted for her by her scarily well-connected dad. ‘Our love is much more powerful than her dad,’ the earnest Amrit tells his best army pal, who joins him for the ride. That ChatGPT dialogue draws a few accidental laughs that quickly fade away when Kill unleashes its villains: a big posse of opportunistic bandits, or dacoits – the real-life gangs who once terrorised the country’s railways. When they clock that Tulika’s industrialist father is on the train, the stakes – and the violence – ramp up. The bandits are a proper Dad’s Army of extended family members with wildly varying fighting abilities, but carrying a paunch or school books is no protection from Kill’s truly shocking violence. No one is safe from the flying hatchets, kukri knives, toilet bowls, fire extinguishers and assorted improvised weapons. In the case of a

The soaring, boyish shadow of Peter Pan lingers over an enchanting anime that’s set between a village-y London of bookstores and cafés and an imaginary neverland to which its young hero regularly escapes with her imaginary pal.  Crafted from English author AF Harrold’s 2014 children’s book by Studio Ghibli alumnus Yoshiyuki Momose, it arrives with much less fanfare than a typical Ghibli joint (it’s the work of Studio Ponoc, an anime house founded by Ghibli veterans), but still with plenty of enchantment to offers in its painstaking melding of old-fashioned British settings and Japanese animation styles. The Imaginary will captivate youngsters who are into Ponyo and Arrietty, but might occasionally unsettle them with the odd dark turn.  Amanda is a young, pixie-cropped girl who lives with her bookshop-owning mum in a chocolate box corner of London. She also lives with Rudger, a sparky blond tyke, but only she can see him. He’s one of the Imaginaries of the title: a BFF who exists to bring her playful flights of fancy to life, from swooping on the backs of giant birds to icy escapades with giant yetis.  With no Ghibli film in the offing, it’s an often delightful way to fill the anime gap  Both worlds are as beautifully hand-drawn as you’d expect from a filmmaker who cut his teeth as an animator on Spirited Away, with some trippy digressions as the pair find themselves at a magical library full of forgotten Imaginaries. Here, the real and fantasy realms connect. Via its portal,

There’s something intriguing, even fun, in a horror movie premise that can be loosely described as ‘The Exorcist set during the making of The Exorcist’, with Russell Crowe’s alcoholic actor, Anthony Miller, cast in the Father Merrin role and an actual demon haunting the soundstage.  But no self-respecting demon would want their IMDb page stunk up with what follows: a half-lit, unholy mess in which nothing is explained and nothing makes much sense. There’s no attempt to establish any kind of Satanic back story or find logic in a film production where the response to seeing the lead actor contorting himself into origami shapes and screaming in a demon voice is just to recast the role. If director Joshua John Miller (son of Jason Miller, The Exorcist’s Father Karras) is connecting alcoholism with demonic possession, it’s done in a hamfisted that invites laughs rather than pathos.   No self-respecting demon would want their IMDb page stunk up with this An oddly low-energy Crowe doesn’t help, and while Adam Goldberg is wonderfully odious as the auteur who will stop at nothing to get a performance, he’s shunted off midstream. Only David Hyde Pierce as the cursed production’s Catholic consultant and Ryan Simpkins as Miller’s dogged teenage daughter find something redeemable in this B-movie misfire.  In cinemas worldwide Jun 21.

Longhorn cattle roaming an untamed landscape. Tiny bugs beavering away in a muddy microcosmos. Actual beavers doing the same in primordial waterways. You’d rub your eyes if you didn’t already know that this was West Sussex, a mild-mannered corner of England a few dozen miles from Gatwick Airport and the M25. It could be the Serangeti or, well, Narnia. Welcome to the Knepp Estate, a 3,500-acre farm-turned-rural idyll created by writer and conservationist Isabella Tree and her bug-obsessed aristocrat husband, Charles Burrell. The pair, despairing of the intensive farming methods that had left their land denuded and them £1.5 million in debt, experimented with just leaving it all the heck alone. Tree wrote a bestselling book about their risky experiment in 2018, a kind of Peat Pray Love of ecological rebirth.Charted by director David Allen over 20 years, in a documentary that envelopes you like a Ready Brek glow, there’s no end of misty, sweeping landscapes (cinematographers Tim Cragg and Simon De Glanville give the English countryside widescreen grandeur) and plenty of stirring, but never cutesy, wildlife. Reconstructions, time-lapse photography and subtle CGI take us back to the madcap early days when the pair just seemed a bit barmy and Tamworth pigs would ham-raid marquees at Knepp fundraisers in search of canapés. It envelopes you like a Ready Brek glow Knepp could easily be twinned with California’s Apricot Lane Farms, the subject of 2018 doc The Biggest Little Farm, a sim

Brilhante, caleidoscópico e corajosamente honesto sobre o lado mais difícil do crescimento, Divertida-Mente 2 é o filme mais profundo e comovente da Pixar desde, bem… Divertida-Mente. É claro que Turning Red: Estranhamente Vermelho, com o qual faria uma dupla perfeita de preparação para a puberdade, merece elogios, mas esta aventura cerebral sobre o amadurecimento parece ser o estúdio a redescobrir a sua antiga magia e a usá-la de forma deslumbrante. Começa com uma rápida recapitulação para reintroduzir as cinco emoções antropomorfizadas que controlam a agora adolescente de 13 anos, Riley, que vive em São Francisco. Há a optimista Alegria (com a voz de Amy Poehler no original, e de Carla García na versão portuguesa), a taciturna Tristeza (Phyllis Smith/Custódia Gallego), o nervoso Medo (Tony Hale, substituindo Bill Hader/João Baião), a sarcástica Repulsa (Liza Lapira, substituindo Mindy Kaling/ Bárbara Lourenço) e o explosivo Raiva (Lewis Black/Nuno Pardal). São eles o conjunto básico de emoções que agora colabora harmoniosamente através da consola de ficção científica para a ajudar a navegar na infância tardia. Só que, como indica o intermitente Alarme de Puberdade do quartel-general, Riley já não é uma criança. E surge um grupo de novas emoções, lideradas pela enérgica Ansiedade (com a voz de Maya Hawke, com uma exuberância de quem tomou dez chávenas de café/ Erica Rodrigues), incentivada pela Inveja (Ayo Edebiri, de The Bear/ Joana Coelho), enquanto a Apatia (Adèle Exarcho

Sparky, kaleidoscopic and boldly honest about the tougher side of growing up, Inside Out 2 is Pixar’s most profound and moving movie since, well, Inside Out. Kudos, of course, to Turning Red, with which it’d make a perfect puberty prep double bill, but this cerebral coming-of-age adventure feels like the studio rediscovering its old mojo and putting it to dazzling use.  It kicks off with a quick catch-up to reintroduce the five anthropomorphised emotions who control the now 13-year-old San Francisco high-schooler Riley. There’s the upbeat Joy (voiced by Amy Poehler), morose Sadness (Phyllis Smith), nervy Fear (Tony Hale replacing Bill Hader), snarky Disgust (Liza Lapira taking over from Mindy Kaling) and the volcanic Anger (Lewis Black). They’re the basic set of emotions who now harmoniously collaborate over a sci-fi console to help her navigate late childhood.  Only, as the flashing ‘Puberty Alarm’ on the HQ console indicates, she’s not a kid anymore. A clutch of new emotions arrive, led by the high-energy Anxiety (voiced with ten-cups-of-coffee exuberance by Maya Hawke) and egged on by Envy (The Bear’s Ayo Edebiri), while Ennui (Adèle Exarchopoulos) provides sardonic commentary from the sofa and Embarrassment (Paul Walter Hauser) hides inside his hoodie. As Riley heads off to ice-skating camp with her besties and a posse of daunting older kids she’s keen to impress, all that delicate balance gets thrown out the window – literally – just when she needs it most. The inside-th

It’s boom time for cinema lovers in one corner of London. First came news that Walthamstow’s old Empire cinema is returning this year, and now Waltham Council have given the go-ahead to plans for a new two-screen cinema a couple of miles away in Highams Park.The building on Hale End Road first opened in April 1911 as the Highams Park Electric Theatre, before becoming The Regal Cinema in 1935. It closed down in 1963 and became a bingo hall. From there, it was returned to its original use as a full-time cinema before becoming a bingo hall again, and then a snooker hall, before finally falling into disrepair.Plans to restore it as a cinema have been germinating since 2018, but as first reported by IanVisits, the newly approved development plans bring it a step closer to reality. The plan will see a new two-screen Regal Cinema and café bar on the ground floor of the building, with the old art deco frontage preserved. The remainder of the building will be turned into a 33-flat residential block. ‘The Regal Cinema is an iconic building in the centre of Highams Park,’ says Waltham Forest councillor Rosalind Doré. ‘There has been much enthusiasm from the local community to revitalise the building and create a space that everyone can benefit from. Now [the] plans have planning approval, the process can move forward to find a cinema operator.’ Which cinema operator will it be? Watch this space for news. It’s official: Walthamstow is getting its only cinema back.How many of London’s fav

Brit filmmaker Guy Ritchie’s latest action caper has had an unusual path to screens in his homeland. The ‘Snatch’ director is back with a new World War II geezers-on-a-mission movie, ‘The Ministry of Ungentlemanly Warfare’, and after a US cinema release back in April, it’s landed directly on Prime Video in the UK. Ritchie has gone from ‘The Gentleman’ to plain ungentlemanly in his all-action telling of a real-life raid on Nazi-occupied West Africa in 1941. Based on historian Damien Lewis’s non-fiction book of the same name, it follows a small posse of special forces commandos on the real-life Operation Postmaster. ‘The plan was to steal an Italian cargo liner that was being used to communicate with U-boats in the Atlantic,’ the film’s military advisor, Paul Biddiss, tells us, ‘and drag it into international waters to be found by Allied warships’. Photograph: Dan Smith for LionsgateEiza González as Marjorie Stewart in ‘The Ministry of Ungentlemanly Warfare’ Starring in Ritchie’s boy’s own war flick are Henry Cavill, Henry Golding, ‘3 Body Problem’s Eiza González, Alan Ritchson and Cary Elwes. Think ‘The Great Escape’, ‘The Dirty Dozen’ and ‘The Guns of Navarone’ – given a slug of the ‘Lock, Stock and Two Smoking Barrels’ man’s trademark larky irreverence.  Instead of bemoaning the missed chance to catch this bunch of daring special forces chaps giving Jerry a bleeding nose on the big screen – and the reviews out of the US were pretty positive – take consolation in that fact

It’s 28 years since Jan de Bont’s Twister introduced the world to the idea that instead of just cowering inside from them with the dog, there are nutters out there who chase after them. And that if you’re a cow in the Midwest during tornado season, you’ll need a parachute.  Now comes Twisters with the promise of more windy mayhem, meteorological chaos and if we’re very lucky, flying Friesians. Normal People star Daisy Edgar-Jones plays Kate Cooper, haunted by a past run-in with a rogue tornado but returning home to get her hands on a groundbreaking new twister tracking system. There she meets Glen Powell’s social media star Tyler Owens, who posts about his own storm-chasing exploits on YouTube. The pair are soon trying to survive the worst the weather gods can throw at them. Filmed in and around Oklahoma City in the American midwest, plenty of real-life locations were destroyed during the making of Twisters. But where exactly was Twisters shot? Read on to find out.  Photograph: Melinda Sue Gordon/Universal Pictures Warner Bros. Pictures and Amblin Entertainment Is Twisters a sequel of the 1996 movie or a remake? Even in the era of prequels, sidequels and legacy sequels, Twisters is an unusual one: it has no narrative overlap with the 1996 Jan de Bont movie, no characters cross over and no winky nods to things that Helen Hunt and Bill Paxton did in the first film. That said, the storyline has distinct similarities and there’s a tonne of shared DNA, right down to the Wizard o

NB: The first batch of tickets for Movies on the River have sold out. More tickets will be released in the next few weeks, so sign up for the waiting list and keep your eyes peeled. This year’s – entirely free – Movies on the River line-up has been announced, and it’s the most romantic thing you can do on the water not to involve an actual gondola full of roses.  The lunique outdoor cinema experience is organised by Time Out (that’s us), and this year it has dating app Hinge bringing extra romantic je ne sais quoi to four August evenings on the Thames. Running from August 14-17, the floating screen will be hosting four beloved classics: Richard Curtis’s hometown romcom ‘Notting Hill’; Barry Jenkins’ gorgeous coming-of-age story ‘Moonlight’; its one-time Oscar rival, Tinseltown musical ‘La La Land’; and ‘10 Things I Hate About You’, the greatest of all Shakespeare adaptations, not least for having Heath Ledger in it. Here’s the line-up in full: Wed Aug 14 – ‘Notting Hill’Thu Aug 15 – ‘Moonlight’Fri Aug 16 – ‘10 Things I Hate About You’Sat Aug 17 – ‘La La Land’ Your free ticket includes a scenic pre-movie cruise down the Thames – that’s right, the Big T herself – and a tonne of Insta-worthy views of the city at magic hour. What could better? Check-in at Tower Millennium Pier starts at 7.30pm and it’s anchors aweigh half an hour later.  Movies on the River, presented by Time Out and Hinge, runs August 14-17. Head to the official site for tickets.  The loveliest places to see ope

It’s been a big year for mystery thrillers on the small screen. And adding to the highly-bingeable likes of Passenger, The Jetty, True Detective: Night Country and The Red King is new Aussie crime thriller High Country, an eight-part series set in a rural corner of Victoria. The set-up has a city cop travelling to a backwoods community where, at first glance, everyone seems intent on killing each other. But is there more to it than meets a veteran detective’s eye? Are a local psychic and a white dingo portents of something darker and more mystical? The show is the brainchild of Marcia Gardner and John Ridley, creators of Wentworth, Australia’s answer to Orange is the New Black, in the mid-2010s. ‘I read a feature article about people who had gone missing in the high country over a period of about a year in a very small geographic area, about 60 kilometres,’ Gardner tells the Sydney Morning Herald. ‘It was all very mysterious – it had the police and the locals baffled.’As our top pick of Best Australian movies proves, Victoria also has serious pedigree in the field of mysterious vanishings – onscreen, at least – and this crime thriller is inspired loosely by real events. Here’s where this one was filmed. Photograph: Narelle Portanier, Curio/Sony Pictures TelevisionLeah Purcell as Andie Whitford in ‘High Country’ Who’s in the cast?  The show’s lead is indigenous Australian actress Leah Purcell, a veteran of breakout Aussie movies like Lantana, Somersault, The Proposition and

Launched in 2018, Time Out’s list of the best films attempts to do the impossible and pare down the canon of classic movies to just a hundred films. It’s been read by many millions of film lovers, sparked debates, provoked angry letters, and hopefully provided a handy viewing guide for umpteen movie nights around the world.The list embraces diverse film cultures, styles and eras of cinema. From Stanley Kubrick’s 2001: A Space Odyssey to Satyajit Ray’s Apu Trilogy, via Pixar’s Toy Story and ’90s lo-fi horror sensation The Blair Witch Project, you’ll find every genre and taste represented. We don’t mess with it often – Jordan Peele’s 2017 genre-redefining horror Get Out is the most recent release on the list – which is why it’s a big deal that Jonathan Zone’s Oscar-winning Holocaust drama The Zone of Interest has just joined this cine-pantheon.Greatness comes with longevity, of course, but we’re confident that Glazer’s extraordinary yet unnervingly ordinary vision of evil at work and at home will only grow more pointed and powerful with the passing of time. Not just a great Holocaust movie that’s right up there with Shoah and Night and Fog, but a bold and contemporary-feeling call to arms against totalitarian oppression, it created a cultural moment at the 2024 Academy Awards and a cinematic one for anyone who caught it on the big screen. Composer Micah Levi and sound designer Johnnie Burn’s eerie, disorientating soundscapes alone will take years to dislodge.Head here to find o

This year’s BFI London Film Festival is opening with a bang – probably a lot of them.  The world premiere of Steve McQueen’s new World War II drama ‘Blitz’ is the festival’s opening gala on October 9.  Starring Saoirse Ronan, the film is named after the Nazi bombing campaign against London in 1940 and 1941.It follows nine-year-old evacuee George (Elliott Heffernan) as he tries to make it back to London and his mum Rita (Ronan) and grandpa Gerald (Paul Weller) in the East End.Co-starring are Kathy Burke, Harris Dickinson, Stephen Graham, Leigh Gill, Mica Ricketts, CJ Beckford, Alex Jennings, Joshua McGuire, Hayley Squires, Erin Kellyman, Sally Messham, and music-actor Benjamin Clementine. ‘“Blitz” is a movie about Londoners,’ says McQueen. ‘It honours the spirit of what and how Londoners endured during the Blitz, but also explores the true representation of people in London, while at its core is the story of a working-class family desperate to be reunited during times of war.’  Photograph: Courtesy of Apple McQueen is calling on some pretty elite talent behind the camera too, with production designer Adam Stockhausen (‘12 Years a Slave’), costume designer Jacqueline Durran, and composer Hans Zimmer adding five Oscars’ worth of skill to the production. ‘It's an astounding production that will leave audiences in awe of the director, his cast, and creative collaborators,’ says festival director Kristy Matheson. ‘The depth of character and texture of the city are all peerless an

The UK’s oldest film fest, Edinburgh International Film Festival (EIFF) has ridden some storms in recent years. Its parent company went into administration, but it bounced back last year and the festival is storming into its 77th year on a wave of exciting movies and a new leadership team.The fest’s full line-up has just been announced – and it’s packed with attention-grabbing titles and premieres. Fancy some body horror and a Demi Moore comeback for the ages? There’s Coralie Fargeat’s ‘The Substance’. After a major Hollywood blockbuster? Check out ‘Alien: Romulus’. Something more local? Saoirse Ronan’s acclaimed drama ‘The Outrun’, set in Orkney. Or just fancy the chance to catch the great Colman Domingo in action? Get along to the European premiere of his new prison drama ‘Sing Sing’. Female filmmakers are strongly represented across the programme, Daisy-May Hudson’s new drama ‘Lollipop’ and Alice Lowe’s buzzy time-travelling romcom ‘Timestalker’ among them. Look out, too, for Guan Hu’s Cannes-prize-winning Chinese homecoming tale ‘Black Dog’ and ‘Armand’, a new domestic drama starring ‘The Worst Person in the World’s Renate Reinsve. There are enticing docs on the programme, too. ‘Since Yesterday: The Untold Story of Scotland’s Girl Bands’ will take a raucous, nostalgic look back at Scotland’s female bands from the 1960s to the present day (take tissues in case of any Camera Obscura bits), while Mark Cousins is back with ‘A Sudden Glimpse to Deeper Things’, a deep dive into

FrightFest has been terrifying UK films fans since the ’90s and it’s back for another pant-wetting go-round this August. Taking place at London’s Odeon Luxe Leicester Square and Odeon Luxe West End between August 22-26, the festival’s newly announced programme feels especially exciting this year.  It opens with ‘Broken Bird’, a debut from actor-turned-filmmaker Joanne Mitchell that stars Rebecca Calder as a mortician whose desires spiral out of control. Cannes body horror sensation ‘The Substance’, starring Demi Moore as a faded Hollywood star trying to claw back her youth, is closing the festival on August 26.Look out for the first Irish-language horror film ever made, ‘An Taibhse’ (This Ghost), ‘The Dead Thing’, an intriguing-sounding neorealist riff on ‘The Invisible Man’ for the online dating age, and ‘The Bunker’, a sci-fi horror with Jigsaw himself, Tobin Bell. Photograph: MUBI‘The Substance’ Other programme highlights to look out for include comedy-horror ‘Saint Clare’, in which US singer-actress Bella Thorne plays a teenage serial killer, and Elijah Wood’s more family-friendly ‘Bookworm’, which reunites him with ‘Come to Daddy’ director Ant Timpson.  The programme includes 69 feature films from across the world, including 25 premieres, as well as retrospectives and restorations.  Showcasing new voices in genre cinema is always big at FrightFest, and the ‘First Blood’ strand is again packed with newbie filmmakers and fresh tales of weirdness and wonder. ‘FrightFest,

Las secuelas están de moda: desde 'Ghostbusters' hasta 'Twister' y 'Top Gun', las películas taquilleras antiguas se han quitado el polvo de encima y arreglado para el público de la última década. Sin embargo, ninguna de ellas es ni la mitad de emocionante que 'Gladiator II' de Ridley Scott, una película que llega 24 años después de su predecesora y retoma un período de tiempo similar más tarde para seguir el destino del joven Lucius de 'Gladiator'. Ahora, un hombre musculoso interpretado por Paul Mescal, seguirá Maximus de Russell Crowe en la arena dos décadas después de la muerte del héroe de su infancia a manos de Commodus. Aquí tenéis lo que hay que tener en cuenta del tráiler. Aidan Monaghan/ Paramount PicturesPaul Mescal com Lucius 1. Paul Mescal se convierte en un héroe sobrealimentado Nos rompió el corazón con 'Normal people' y 'Aftersun' y petó nuestras redes sociales con literalmente todo lo que hizo en Glastonbury, así que es fácil olvidar que Paul Mescal aún no ha demostrado completamente su valor en la arena de Hollywood. A juzgar por el tráiler, esto está a punto de cambiar drásticamente. Mescal es a la vez el alma y la identificación furiosa de una secuela de Ridley Scott que encuentra a su gran Lucius viviendo en una especie de exilio benévolo en Numidia, en el noroeste de África (un área que cubre Argelia, el Túnez y Marruecos actuales). ¿Es feliz? Claro que no. "La rabia es tu regalo", se oye decir. Paramount PicturesPaul Mescal com Lucius 2. Todo es ra

Les seqüeles estan de moda: des de 'Ghostbusters' fins a 'Twister' i 'Top Gun', les pel·lícules taquilleres antigues, s’han tret la pols de sobre i arreglat per al públic de l'última dècada. Cap d'elles, però, no és ni la meitat d'emocionant que 'Gladiator II' de Ridley Scott, una pel·lícula que arriba 24 anys després de la seva predecessora i reprèn un període de temps similar més tard per seguir el destí del jove Lucius de 'Gladiator'. Ara, un home musculós interpretat per Paul Mescal, seguirà a Maximus de Russell Crowe a l'arena dues dècades després de la mort de l'heroi de la seva infància a mans de Commodus. Aquí teniu el que cal tenir en compte del tràiler.  Aidan Monaghan/ Paramount PicturesPaul Mescal com Lucius   1. Paul Mescal es converteix en un heroi sobrealimentat Ens va trencar el cor amb 'Normal people' i 'Aftersun' i va petar les nostres xarxes socials amb literalment tot el que va fer a Glastonbury, així que és fàcil oblidar que Paul Mescal encara no havia demostrat completament el seu valor a l'arena de Hollywood. A jutjar pel tràiler, això està a punt de canviar dràsticament. Mescal és alhora l'ànima i la identificació furiosa d'una seqüela de Ridley Scott que troba el seu gran Lucius vivint en una mena d'exili benèvol a Numídia, al nord-oest d'Àfrica (una àrea que cobreix l'Algèria, la Tunísia i el Marroc actuals). És feliç? És clar que no. "La ràbia és el teu regal", se sent dir.   Paramount PicturesPaul Mescal com Lucius   2. Tot és ràbia masculina

Legacy sequels are all the rage – from Ghostbusters to Twister to Top Gun, once-old blockbusters are getting dusted down and spruced up for 2020s audiences. None of them are half as exciting as Ridley Scott’s Gladiator II, though, a film which lands 24 years after its predecessor and picks up a similar time period later – give or take – to follow the fate of Gladiator’s boyish Lucius. Now a brawny man played by Paul Mescal, he’ll be following Russell Crowe’s Maximus into the arena two decades after his boyhood hero’s death at the hands of Commodus.  Yes, the ‘busy little bee’ is now more of a fackin’ massive hornet – and he’s got time on his hands to kill everyone who has crossed him. Which, judging by the first trailer, is the entire Roman Empire. Here’s what to look out for in the trailer.  Photograph: Aidan Monaghan/ Paramount PicturesPaul Mescal as Lucius 1. Paul Mescal makes a supercharged hero He broke our hearts with Normal People and Aftersun and broke our social feeds with literally everything he did at Glastonbury, so it’s easy to forget that Paul Mescal is yet to fully prove his mettle in the Hollywood arena. Judging by the trailer, that is about to change in a big, gym-toned way. He’s both the soul and the raging id of a Ridley Scott sequel that finds his grown-up Lucius living in a kind of benevolent(ish) exile in Numidia in northwest Africa (an area that covers modern-day Algeria, Tunisia and Morocco). Is he happy? Lord no. ‘Rage is your gift,’ he hears. It’s